When Megan is invited by Jacques, the man of her dreams, to a luxurious vacation in the desert country of Dhahara, it seems too good to be true. Could this be an opportunity to get closer to him? Having arrived at the airport, Megan waits for Jacques, who was supposed to be waiting for her. But there is no sign of him. Shafir, a handsome man with a cold glare who claims to be Jacques’s friend, tells the concerned Megan that he’ll escort her in his place. She accompanies Shafir to his car, only to be taken to a remote castle in the dunes?the Palace of Roses.But is the man she’d taken for a ransom-seeking bandit actually…a prince?

Mr. April: Prince Shafir Al Dhahar, desert sheik His Creed: Family…first, last, always His Challenge: One obstinate foreign beauty The wedding would go on. Prince Shafir would not let Megan Saxon steal away his cousin's groom-to-be. Stopping her by seduction seemed the easiest plan. He'd simply make Megan fall in love with another man—him. But what would happen if the seducer found himself falling for a woman he couldn't—by royal rights—truly keep? MAN OF THE MONTH: A royal sheik with an iron-clad destiny…until love changed the rules.

Practically penniless, Tiffany Smith had nowhere to turn except to the gorgeous billionaire who offered his help. But at what price? Dashing banker Rafiq Al Dhahara did not believe she was an innocent fallen on hard times. Still, his distrust didn't stop her from falling for his charms…and into his bed for one passionate night. Months later, Tiffany again found herself at Rafiq's mercy. She wanted him to know the truth about her pregnancy—but she didn't know the truth about this man. Until she did, getting him to believe he was the baby's father would be no small feat…for nothing short of a kingdom hung in the balance.

A spontaneous, passion-filled Vegas romp with a sheikh is out of the ordinary for sensible Laurel Kincaid. She's walked the straight-and-narrow her entire life and has wound up with more stress and conflict than she can handle. Indulging in a jaunt with irresistible Rakin Whitcomb Abdellah is a delicious escape. So delicious that she says "I do" to a short-term marriage of convenience so he can claim his inheritance. But being husband and wife behind closed doors is more tantalizing than either of them expected, and suddenly the rules of their temporary marriage feel very inconvenient....

Look for scandalous marriage deals, secret babies and sexy, brooding sheikhs in this specially themed bundle from Harlequin Desire. EXPECTING THE SHEIKH’S BABY Volume 1 from Harlequin includes The Desert Lord's Baby by Olivia Gates, Expecting the Sheikh's Baby by Kristi Gold and Saved by the Sheikh by Tessa Radley.

Diana Mayo is young, beautiful, wealthy--and independent. Bored by the eligible bachelors and endless parties of the English aristocracy, she arranges for a horseback trek through the Algerian desert. Two days into her adventure, Diana is kidnapped by the

To what extent are our most romantic moments determined by the portrayal of love in film and on TV? Is a walk on a moonlit beach a moment of perfect romance or simply a simulation of the familiar ideal seen again and again on billboards and movie screens? In her unique study of American love in the twentieth century, Eva Illouz unravels the mass of images that define our ideas of love and romance, revealing that the experience of "true" love is deeply embedded in the experience of consumer capitalism. Illouz studies how individual conceptions of love overlap with the world of clichés and images she calls the "Romantic Utopia." This utopia lives in the collective imagination of the nation and is built on images that unite amorous and economic activities in the rituals of dating, lovemaking, and marriage. Since the early 1900s, advertisers have tied the purchase of beauty products, sports cars, diet drinks, and snack foods to success in love and happiness. Illouz reveals that, ultimately, every cliché of romance—from an intimate dinner to a dozen red roses—is constructed by advertising and media images that preach a democratic ethos of consumption: material goods and happiness are available to all. Engaging and witty, Illouz's study begins with readings of ads, songs, films, and other public representations of romance and concludes with individual interviews in order to analyze the ways in which mass messages are internalized. Combining extensive historical research, interviews, and postmodern social theory, Illouz brings an impressive scholarship to her fascinating portrait of love in America.